Exclusive Interview: ‘Buffy’ & ‘Serenity’ Comic Artist Georges Jeanty

GeekNation recently had an opportunity to speak to a good friend of the site by the name of Georges Jeanty, a highly prolific and acclaimed comic book artist best known for his work on Buffy The Vampire Slayer seasons 8 and 9 for Dark Horse, Bishop: The Last X-Man at Marvel, as well as work for DC on such characters as Green Lantern, Superman, and Batman. We were able to discuss his time as a fan, how he broke into the industry, advice he has for aspiring creators, as well as what the future holds for his own work, and everything in-between.

Read the full interview below, and enjoy the insight of one of the best artists working in comics today!

Chris Clow for GeekNation: The first thing that I love to ask any comic creator (if there aren’t a thousand people behind me in line at a convention) is this: before you broke into the industry, were you a comics fan, and if you were (or even if you weren’t), what really ignited your interest in pursuing your art as a career?

Georges Jeanty: Well, interestingly enough, I find that I’m starting to become more the exception than the rule. So yes, as a kid, you grow up reading comics, and you just love the medium more and more. I’m finding a lot of people working today just sort of fell into it because it was a popular thing, or something like that. I feel very antiquated in saying that, yeah, I just grew up with this. And in doing so, I loved it even more, and I never left it once I was of reasonable age that I could go out and start finding other things like sports, or girls, or other things like that.

Comics were always very, very close to me, and really defined my childhood for one thing, and then defined, also, my adolescence. So I’ve always been very into comics, and the medium, and the storytelling medium. I think that extends to movies, and television, and books, and things like that.

GN: Definitely! Since you were a fan, who were some of your favorite artists growing up? I know a lot of other artists working today often cite names like Neal Adams or Marshall Rogers, but where did your interests lie?

Daredevil #158, Frank Miller’s first issue on the title, began a seminal run on the character by the writer who went on to create stories like Batman: The Dark Knight Returns and Sin City.

GJ: I was in a really good time. I mean, obviously since I’ve always read comics I’ve been reading since the 70’s, and on up. But, when I was in junior high and high school, just those really influential times. That was around the time that Frank Miller and Walt Simonson were becoming really popular, so I was picking up books like Thor and Daredevil, and John Byrne had moved over to the Fantastic Four, which was my flagship book that I just absolutely loved. And Marv Wolfman and George Pérez on the New Teen Titans, I just absolutely loved it.

And it wasn’t just the characters, it was just the storytelling. At that time it was really, well, it’s a writer’s medium now, I’ll totally give you that, but back then it was very much a storytelling medium. And I think we’ve got some of the best comics we’ve ever gotten, obviously pre-Alan Moore, coming into the books around the mid-to-late 1980s.

GN: That’s a great perspective. Right before you broke into the industry, were you actively working as an artist, or did you have your attention elsewhere?

GJ: I was always trying, and I was one of those guys that was the overnight success that took ten years to actually happen. That was pretty much me. (laughs) I had all of these no-name jobs that I always thought I could easily leave once the comic book stuff started to happen, and I even managed a comic shop in the early nineties. Right around the time that Image Comics was very popular, and at that time, I was really discouraged because my stuff looked nothing like Image at all. (laughs) And I thought, “oh man, I am never going to get a job in this business. The only thing I’ll ever do is, maybe, some Vertigo titles [DC’s mature readers imprint], because they were the only ones doing things that weren’t Image-influenced.

So, whatever I needed to do to get into comics, that’s what I was going to do. Whatever menial jobs, you know, I waited tables, and did all of the things that you could probably guess just for that big break. Which again, that big break sort of came and went, came and went, and at least three or four times, I thought I was in comics. That I had made it. And then something happened, and I was right back to square one.

GN: How did you hone your style before you broke in? I remember Jim Lee talking about how he disappointed his parents by telling them what he wanted to do, and would just sit in his room and draw for 8-10 hours a day looking at some of his favorite comics.

GJ: Yeah, and I think Jim had some sort of degree in medical science, so I can kind of understand his parents going, “dude we paid all this money for this? And you want to do this?”

You know, I don’t know anybody who draws that can tell you what their style is, and I am totally part of that group. I couldn’t tell you what I do that’s different from other people, but I can tell you that it doesn’t look like other things. And subsequently, I can look at other peoples’ work and tell you who they are just by looking at their style, but it’s a weird thing. I’m such an amalgam in that I’m influenced by so many people that I really can’t tell what the “style” is per se.

Also, I think I came into this business being more of a storyteller than an artist, so I’m always looking at that part of the comic book medium more than I am at the art medium. Obviously a good artist is a good artist and you love what they do, but I was always very focused on the storytelling. I think that’s why I got into a lot of European stuff like Moebius and Manara, and people who were really just great storytellers. They had really great styles of course, but the storytelling is what really came through.

Paradigm #1 from Caliber Comics in 1994 was Jeanty’s first published work in the comics industry.

GN: When you first did break in, maybe not your first big break, but when you got your foot in the door, how did that come about?

GJ: Yeah, I don’t know if you remember Caliber Comics, or Caliber Press as they were known, they wanted to branch out in the nineties I think because of Image, and do a superhero line. So a good friend of mine, a guy I had met a year or so before by the name of Brent Carpenter, was working with Caliber. He had already done a book for them and they were branching out into a line of comics. And he saw me at a show and asked me if I wanted to do something, and I said of course!

I was just over the moon. You know it’s funny, you always have those conversations, and they really resonate differently the older you get and the more experienced you get. I distinctly remember him saying, “You know, it doesn’t really pay all that much and you’ll probably just get paid a little bit here and there.” And as an artist you go I don’t care! I just want to do it, I want to get into comics, I want to get in print, and I want it to actually come out.

And nowadays, I have those conversations about “this is what I charge,” or “this is how I go and if we can’t come to an understanding we’re going to have to figure something out.” So that idealism that I had back then, I still feel it, but it’s funny how much things do change once you’re trying to break in, as opposed to you actually being in the business. And that was just an awakening, not so much that I was going to be in comics, but just the fact that somebody actually liked my work enough to go, “Yes, we’re going to give you a book, we’re going to print it, and it’s going to be out there for the whole world to see.” And that’s what my first comic Paradigm is, for better or worse! (laughs) And of course, I look at that book now, and I just cringe. Of course that book is now 20 years old, and I just cringe at the noviceness of it all.

GN: Well I suppose you’re going to be your own worst critic, and you probably have to take the idea that you’ve got to start somewhere, but it’s great that you were able to do that. But then after that, you did some work for Gaijin, then you began to get more regular work from DC at first, and then later at Marvel. So what was it like when you finally did get to work for the two big publishers?

GJ: Yeah, I started at DC first, and I did a fill-in for Green Lantern, I think it was issue #94, and it wasn’t even the whole book. The regular artist at the time, Darryl Banks, needed some help so they broke it up into halves to give him a little bit of a breather. And I swear, it was so intimidating, because here I’m doing this, and it’s almost as if I’ve been legitimized because now I’m working for one of the big two companies, and you can’t screw this up. That’s what was going through my mind the whole time, that I have to make this the best work ever. I don’t care how my style looks, I don’t care how much I don’t know, I mean I was really just psyching myself out. But, I kept telling myself that this has to be the end-all be-all, because this is it. (laughs) And obviously, looking back on that too, I’m thinking that I really shouldn’t have put that much into it.

And I say that because, while it was a very important thing that did lead to other work, and at that point I don’t think a novice has this, but you just have to trust in yourself and your talent, and let that lead the way. Then, I can come through the other side and say that I did it, I’m good, and I’m worthy of being in the business. I think a lot of my thinking in the beginning was just that I wasn’t worthy of doing what I was doing.

Jeanty filled in on Green Lantern (vol. 3) #94, in an era where Kyle Rayner had controversially replace Hal Jordan as the emerald ringslinger.

GN: I see, so this was the time when Ron Marz was writing Green Lantern during the Kyle Rayner era?

GJ: Yeah, after Kyle Rayner replaced Hal Jordan, and Darryl Banks who was the regular artist, because he and Ron created Kyle Rayner together. So it was a nice little thing that I could come in there, and do a little bit for them. Ron was really great, and he was also very instrumental in getting me more work, because at that time he was also writing Superboy, and he was saying that they’d need a couple of fill-ins coming up because Tom Grummett, the regular artist before that, was getting ready to leave.

So essentially, there were a few issues that were open, and they were going to be available. And Ron said he’d put in a good word for me if I really wanted to do it, and of course I jumped at the opportunity. And that sort of had its own set of anxieties, because Green Lantern was just half of an issue that I had to really break my neck for and say, “this is the best I can do.” Now, I was looking at actual multiple issues of 22 pages each, and now I actually had to come and perform for the three or four months that it took me to do it. And that, in itself, was really daunting and intimidating, because I just didn’t know if I had it in me! So coming to the Superboy stuff was, (laughs) was even more anxiety.

GN: I can only imagine, but you did the work and the issues shipped, and then is that when Marvel came calling?

GJ: Then I did a few more fill-ins, I did a Team Superman and a couple of Superman issues, and played around the DC Universe for a while, because you get to know people. One thing I will say to people coming in: there’s always a fill-in, somewhere, that you can probably do if you’re in the right place at the right time and know the right people. So yeah, I played around at DC for a while, and it wasn’t until I went to Gaijin in 1999 or 2000 that a lot of them were very friendly with a lot of the Marvel people. So I essentially rode on their coattails at Gaijin and got work at Marvel, and thankfully I really hit it the first time out because I got a book called Bishop: The Last X-Man.

I had to really audition for that, but that was a very big coup for me at the time, because that was an ongoing title. And when you’re a freelancer, obviously the biggest thing in the back of your mind is where the next work is going to come from. So that was a big deal for me because it said that I was going to be working now for the foreseeable future, for at least a year. And I could never imagine that much work for that much time.

GN: And this was at a point where the X-Men pretty much ruled the roost in comics, is that right?

GJ: Yeah, that’s why they were doing all of these [offshoot] titles, and it was one of those things that eventually burned itself out. But yeah, every character, essentially, was getting a title because the X-Men were unstoppable at that point.

Cover art to Bishop: The Last X-Man #1, Jeanty’s first ongoing comics assignment.

GN: That’s great that you were able to get in on that, then!

GJ: Yeah, I was really lucky!

GN: Yeah! Well, with sort of the new generation coming up at DC with their whole relaunch, and with Marvel reinventing themselves, and with a whole new look at the world of superheroes with the success of their movies and other things, do you have any advice for artists who aspire to work at the big two publishers? Maybe something you wish you’d known before you’d started at either one?

GJ: Well, I always tell people coming in, that this business is very small. I know it may seem like its big and all-powerful machine, but really it’s very small. And it’s very important that you make the relationships with the editors, or the people involved in the comic business. Like the promotion people, or the advertising people. It’s very important for you to get to know these people, because they know the other people! They know the editors, and they know the publishers, and know everybody else that eventually, because of your association, and of course how good you are, it’ll lead you somewhere that you will have an opportunity to approach an editor and get work.

And I’m always stating that you should develop these relationships. Don’t let somebody else, like an agent or a representative, develop these relationships. Reason being that these editors and the people that actually give you the work won’t know you. And that’s what you really want: you want them to get to know who you are in order to work. Nowadays, though, ironically enough, the business has really changed so much with self-publishing being such a fad and printing your own book being really cost effective these days. I’d really say that if you have that one thing that you really want to do, don’t give it to another company. Do it for yourself!

Put whatever it is that you have within you, whether it’s the money, or the time and the effort, whatever it is that means that much to you, go ahead and do it yourself. Because working for the bigger companies is great, but essentially you’re never going to get any further than their titles. You’re never going to own a Spider-Man or a Batman. It is such an honor to work on those books, yes, but if you have this love for something that you want to do, which it seems that everybody does these days, definitely try the self-publishing route. That is definitely something that is a lot easier and more manageable.

GN: Well I was going to ask a little bit later about The American Way, because I believe that was a creator-owned series, is that right?

GJ: It was! Yeah, that was a creator-owned series that I was actually approached to do. I was working at WildStorm at the time doing, funnily enough, some fill-ins on the Majestic title that they had going. And the editor, Ben Abernathy, really liked my stuff and asked what I was doing next. And I told him I was looking around, and he had worked with a gentleman named John Ridley on one of The Authority stories that John had written. And he told me that Ridley, who really wasn’t a “comic guy,” loved comics. He’s a CNN commentator, he’s written a few novels, and he really loves comics and has this story. And he’s really looking for someone to match wits to help create the characters and visualize what he’s done.

Cover art to The American Way #1, Jeanty’s creator-owned series with writer John Ridley.

So I asked to take a look at the synopsis and the script and that I’d go from there, and I absolutely fell in love with this story. It didn’t have any established characters that we knew of, but I was reading this and thinking that even if I don’t do it, this is something I’m going to want to read when it comes out. And to this day, it really stands as one of the things I’m most proud of, because I think that John just did an amazing job in putting all of the elements that he wanted to see, and as an African-American, all of the things that he felt he wanted to talk about with that book. Because it takes place in the 60’s with, hypothetically, the first black hero coming into the United States.

GN: It definitely posits an interesting alternate history, especially with the imagination that was put into superheroes created by the government. What inspiration did you take from established history, visually, when drawing the series?

GJ: A lot! Because it’s on the fringe of established history, and the Kennedys are in it, and all of the events of the 60’s, because that’s really what Ridley wanted to do, is take the established events and create a fictionalized story around it, but he said he’d love it if somebody were to say that they didn’t know what the Freedom Riders were, but they’re in this book. And if they were to look that up, or Google it, or something, they would see that this was an actual event and that these were actual people who actually went on buses. And we treated it one way, and if that could lead somebody to learn a little more about our American history, then this would be a great thing to have done.

And I think that’s why a lot of the book has established history within it, because there was so much that John wanted to say in relation to the early 60’s, and why he was going on with racial tension and equal rights. It almost wrote itself by the simple fact that, if you have a black character within the timeframe of the early 60’s, then there are just things that he can and cannot do. And let’s see what kind of a story we can do when we say that this guy’s not only a black man, but he’s also a black hero that is a fan favorite. And from there, what happens next? And that was a great premise from John.

GN: I suppose the comic with the most mainstream success that tried to play around the fringes of history was Watchmen. Did you take any inspiration from some of Dave Gibbons’ artwork there?

GJ: Oh, I would never be so bold as to compare The American Way with Watchmen, but I was very happy when other people were comparing it to Watchmen! Yeah, when we did this book, we totally understood that Watchmen was sort of our predecessor to what we were trying to do. We weren’t trying to duplicate Watchmen, but we were trying to do something that was very much in the same vein as Watchmen.

And even more so, there are a couple of little nods on my part to Watchmen in the book. Any really sharp-eyed readers will pick those out. There was definitely a nod to that in that we were acknowledging that this is what came before, and we certainly had that respect for it.

GN: That’s terrific. Well, now is the point where I wanted to get into Buffy…

GJ: Ah! Of course!

GN: Well you can’t talk about the Buffy comics without talking about you!

GJ: And thankfully so! If I’m associated with Buffy for the rest of my life, that’s not a bad job!

GN: Of course not! So before you got the job on the book, were you a fan of the show?

GJ: No, strangely enough, I’d never seen an episode! I understood and knew about Buffy because of its relationship to pop culture, but I was never a fan per se because it was just never on my radar. It’s not that I didn’t like it, it was just never something I actually sat down and watched. Once Joss and the editor, Scott Allie, over at Dark Horse had emailed me and asked me if I wanted to do this, of course I jumped right on there saying, “Oh right, I know Buffy! This is great stuff! Sure, I’d love to do it!” So I quickly backpedaled, and caught up on a lot of it once I got the gig.

GN: So after you did get the job, after you started to familiarize yourself with the ins and outs of the show, is there anything that excited you specifically about continuing her adventures after the show had ended?

GJ: Oh, yeah! Just the idea! I got the job in 2006, and I think Buffy went off the air in 2003, so by the time the first issue came out in 2007, it had been a good four years since people had seen anything Buffy. And I was very proud of the fact that Joss had come up with this idea saying he wanted what we did in the comics to become canon. So this was going to be the actual season 8 in the comics which, to my knowledge, hadn’t been done before. So anyone that had watched seasons 1-7 can actually go to 8 and 9 in comic book format, and I just thought that was so great.

While I didn’t know the magnitude of Buffy and what her fans were like, I understood that I was on the ground level of something that was probably going to stay with me the rest of my life.

GN: Yeah, it’s a very rich universe, and it’s certainly true that you have definitely added to that. So take me through the typical process for you in penciling a Buffy issue.

GJ: Well you get the script, of course, and that was the best part for me because after I familiarized myself I became a huge, huge fan! So I was really biting my nails waiting for the next script, because I was genuinely wondering what happens next! You know, where’s Faith? What’re these people doing, or what’s going on there? And reading it at the beginning, I felt very privileged that I was one of maybe four people who’ve read the new season 8 script, so that was always a gas whenever I got the new script.

And then, from there, I kind of took off my fan hat and then put on my artist hat as a storyteller, and from there I would re-read, and I’d probably re-read a script four or five times, and then start breaking it down. Kind of like what you would do with a movie, when you start storyboards, and breaking down what script is, what it has, what I can do, what the timing is, you know, all of the little technical stuff that you can do when you’re breaking down the story, whether its television, movies, or whatever.

Then from there, I do my layouts, and I draw, and try to get all the reference that I might need. For every issue of Buffy that I’ve ever done, I had a stack of reference photos of Sarah Michelle Gellar, or Alyson Hannigan, or Nicholas Brendon. I had a lot of pictures of them around me more for security’s sake, because I really wanted to get it right. And by saying that, I don’t think I might’ve gotten it right all the time, but I like to think I got it right most of the time.

GN: Well of course, Buffy’s been a big part of your career, and I understand that season 9 just wrapped last month, but is there anything you can tell us about the future of Buffy and for you in Buffy?

GJ: Well, the future of Buffy will certainly go on, and they’ve said that there will be a season 10. I won’t be the main artist on season 10, I actually have moved over to another Whedon franchise…

GN: Ohhh, yes!

GJ: (laughs)…called Serenity, so I’ll be doing that. But, I don’t think I’ll ever go very far away from Buffy. I’d probably come back and do an issue here, or a story arc there, so I’ll probably be involved in some way. I’m very happy with the way things are now, I think six years on a book is a very good run, and all told, I think I’ve probably done about 40 or so issues of the whole canon. So I feel very good about what I’ve done, and I don’t feel like I’m leaving her behind, we’re just sort of taking a break for a little while.

GN: Sure! Well you actually brought up the next topic I wanted to ask you about, and Serenity is actually the Whedon franchise that I personally attach to a great deal…

GN: Well it’s just really interesting, because that universe is also so vast, and so rich with character like any of Whedon’s work, but it burned out so quickly and so tragically for so many fans. So, what do you feel going into continuing those adventures, and can you give us an idea of where the book will go?

GJ: Well, a little bit, but I can’t give you a whole lot, because Dark Horse is very quiet about all of this.

GN: Sure.

The feature film Serenity is the last time we’ve seen the crew of Mal Reynolds’ ship until Jeanty’s comic series continues their adventures.

GJ: The series that I’m doing right now is, of course, Serenity, and it’s basically post-movie. And a lot of the Serenity comics that have been done recently, with the exception of one or two little stories here or there, a lot of it’s been in-between the show and the movie, or pre-show, and just getting into the characters’ lives as they were. This series, as I understand it, is the first to go past the film, so, of course, Wash is dead, and Shepherd Book is gone, and all of the things that happened in the film have a resonance to what is going to be happening in the series. Because the Alliance, of course, knows about Serenity now, and while before they were on the fringe of the Alliance’s radar, they are very much on the forefront nowadays.

I can’t give you too much on the characters themselves, except to say that everyone is back, essentially, that made it out of the movie alive, but that doesn’t necessarily mean they’re all going to stay alive. You know, it’s Joss Whedon! (laughs) So you have a lot of cause to be afraid when you start something like this! You never know where Joss is going to go, but of course you’re always along for the ride because you love the franchise so much. Oddly enough, Firefly is something I watched when it was on television, and was very upset as many people were when it was canceled prematurely. So I am very happy to come in and take hold of what will essentially be canon from the film.

GN: Yeah, and as soon as I saw the announcement, I greatly shared that sentiment.

GJ: (laughs)

GN: And that was something I thought was missing out of some of the other series, because I read them all, and they were spectacular, but they never went beyond the movie, so I’m glad you’ll be creating new adventures that help fill in the more recent histories of the crew.

GJ: Yes, exactly.

GN: So I’m really looking forward to seeing what you guys have in store.

GJ: Good! Well, I’ll have you know that I’m drawing a page as we’re talking.

GN: (laughs) That’s…that’s awesome.

GJ: So it’s a good thing we’re not Skyping right now, then. (laughs)

GN: Yeah! (laughs) You’re not kidding! Well, one of the other things that I had to talk to you about was when I really got back into comics, because I was a fan as a kid and then fell out of it for a while, but when I got back in was when Grant Morrison began his Batman run in 2006. And, it just so happens that one of my favorite Morrison Batman stories is The Return of Bruce Wayne.

GJ: Oh, yeah, okay!

Jeanty provided artwork for Grant Morrison’s Batman: The Return of Bruce Wayne #4, which saw the Dark Knight battle his way through different eras to return to the present.

GN: So I had to ask you about your issue of that, that takes place in the “Wild West” era where Bruce has to try and find his way back to the present. So for your issue, I often hear stories about what it’s like to work with a guy like Grant Morrison. So, what was it like from your perspective?

GJ: Well I, unfortunately, had very little to do with Morrison. I think that series, and you can tell because each issue is done by a different artist. So because of that, I don’t think Grant had a lot of time to be personal with any one individual because this was a unified effort that, to my knowledge, was not being done simultaneously, but there were different people doing different things at different times. So, I like to call these types of things an “editor’s book,” because this was really something where the editor had to pay attention to where things were. Of course, my issue dealt with the 1800s, and the issue before that I think delved into the 1500s, and the first issue was the Cro-Magnon period.

So I think Grant really submitted his stories and what he was doing and had very little contact with the artists. Now, I can’t speak for everybody else, but I think I might’ve heard an email from him once or twice. But again, these books were coming out at a point where Grant was doing a whole lot of simultaneous Batman work. So I can only imagine how much he was being pulled in different directions. So this series, which I was more than happy to get after someone backed out, so I was just happy to tell people that I was working on a Grant Morrison script!

GN: Well, when you get to add to the mythology of a character like Batman, and you talked a little bit about this before with Green Lantern and the X-Men, but did you relish your opportunity to do it outside of the usual setting, with the usual rules, where he’s not in the familiar costume, and he’s not running around the familiar city, but where he’s still doing something that’s important and will lead to something bigger for him later?

GJ: Oh, yeah! I mean the fan inside of you will always lament at wanting to draw superhero Batman the way he normally is, but this was a great opportunity. And I have to say, because this was such a processed book, all of the characters were already designed by the time I got to it. So, that Batman’s look was already said and done when I got to him. But it’s cool to be able to say that if they ever went back to that era, in something like Mike Mignola’s Gotham By Gaslight, if they ever revisit this sort of thing, then that would be kind of cool if they went with the character that I drew in the book.

The only thing I regret with my issue was not having more time on that, because I came in late and had to really pick up where the slack was. So I really would’ve loved to have spent more time on that book.

GN: Well, you can’t tell!

GJ: You’re too kind!

Jonah Hex drawing on a disoriented Batman in The Return of Bruce Wayne #4.

GN: I think my favorite page in your issue is either where they’re about to draw on each other, or when Jonah Hex is holding the Batarang and starts to ride off into the sunset.

GJ: Yeah, I never was really a big Jonah Hex fan, but I understood how cool the idea of having Jonah Hex, who obviously is a character that’s rooted in the 1800s, that he could actually correspond with Batman, with Bruce Wayne. You know, the geek inside of me loves that sort of stuff. So, I was probably happier to actually make these two fight, because you might see it in a Brave and the Bold issue elsewhere, but this is very cool for what it is, and it’s a very logical process.

GN: Absolutely. Well, we’ve touched on a great deal, but is there anything else that you are excited to share with people about the future in your line of work or other work that you have coming?

GJ: Well, hopefully that I’ll continue to do stuff in this business, God willing! And the fact that the Serenity thing is really what my main frame is right now. I just recently finished a book that hit the stands called “The Joker’s Daughter” for DC’s New 52 Villains Month that just ended this past September, so I’d love for people to go and pick that up. But my focus right now is all Serenity, all the time!

GN: Great! I don’t know if you’ve heard but that “Joker’s Daughter” 3D cover that DC allocated, I’ve seen that go on eBay for upwards of $300!

GJ: Yeah, and of course I’m flattered!

GN: Well the last real question that I wanted to ask you, and I’d be surprised since you have to work on a regular book and crunching your deadlines, but are there any comics that you’re reading, or that you keep up with on a regular basis?

GJ: Oh, yeah! I’m still so much of a geek, I am there every Wednesday at the comic shop, and picking up things that just interest me. Jupiter’s Legacy by Mark Millar and Frank Quitely is actually pretty good, and I just picked up that Matt Fraction book Sex Criminals. It seemed interesting, I’m curious to see where it goes. Sean Murphy and Scott Snyder’s The Wake I thought was really good, and the current X-Men stuff by [Brian Michael] Bendis and [Stuart] Immonen [Battle of the Atom — Chris]. Immonen is one of, if not the best continuity artist working in comics right now, he’s definitely on that short list.

So I pick up stuff all the time, whatever looks good or sparks my interest while I’m in the shop, I’ll definitely give it a read.

GN: Well thank you very much for talking with us! It’s been a blast, and we really appreciate it of course, and we really look forward to seeing what you have in the future!